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During the 1930s the Japanese Government General of Korea's Society for the Compilation of Korean History commissioned facsimiles of some 21 rare historical sources to accompany the publication of the colossal History of Korea (Chōsenshi 朝鮮史), funnelling select xylographic, typographic, and chirographic products of the defunct Chosŏn dynasty's book ecology through offset lithography and collotype, and on occasion movable type. This article investigates the Society for the Compilation of Korean History's collection and classification of historical materials against the larger backdrop of colonial knowledge production, illuminates the different economic and editorial logics of the new printing technologies used to produce the facsimiles, and examines the products as one example of the significance of facsimiles in the field of history. It suggests that the interplay of traditional print media, dominated by woodblock prints, and the new photomechanical means of reproduction, allowed for the swift reproduction of the unfolded page image and the easy utilization of traditional-style binding, permitting the Society to create purposefully antiquated reproductions with a high degree of fidelity to the original. At the same time, the use of modern materials (paper, string, and covers) and certain features common to traditional Japanese book binding meant that the facsimiles were irrevocably hybrid. These facsimiles ended up in a wide range of research libraries, representing the Korean past to the scholarly community in the Japanese empire. [ABSTRACT FROM AUTHOR]

This article traces the cultural history of a portrait format popularised through the global expansion of lithographic printing. This format combined a traditional portrait vignette with a lithographic facsimile of the sitter's signature. Such 'facsimile-autographed' portraits evoked the notion that sitters had physically signed their own likenesses – testifying not only to the veracity of the depiction, but displaying an indexical trace of embodied agency. The article argues that this format afforded a particularly cogent way to conceptualise and communicate ideas about selfhood and society in liberal, romantic, and nationalist political programmes. Such lithographic portraits did not simply 'encode' or 'reflect' these new ideas, however, but were part of a technological revolution that decentralised the production of mass media and thereby reshaped the societies in which such novel ideas flourished. By connecting the various expressions of public selfhood found in facsimile-autographed portraits to the way lithography expanded audiences and reshaped modes of conceptualising public and private life over the course of the nineteenth century, this article argues that established scholarly concepts like the 'romantic self' or 'liberal self' might be reconsidered through a new, technomaterial heuristic: the 'lithographic self'. [ABSTRACT FROM AUTHOR]

This paper reviews the digital edition Der Sturm – Digitale Quellenedition zur Geschichte der internationalen Avantgarde, which aims to bring together all existing digital sources on the STURM company, to make them accessible and to link them with each other. Initiated by Herwarth Walden by founding the STURM magazine for contemporary art, the STURM company provided many different platforms (e.g., gallery, publishing, theatre) for the art scene in Germany at the beginning of the 20th century and had also a big impact on the international avant-garde. The digital edition currently offers facsimiles, transcriptions, and commentaries on a part of the letters, the encoding of the sources and texts is done in TEI-XML and can be downloaded or accessed via an API. Inventory lists exist for the other documents which link to the source of the digital image. All semantic and structural entities of STURM sources are permanently referenced using persistent identifiers.

Abstract In recent years, 3D printing technologies have had a considerable impact on the field of conservation and restoration of cultural heritage. Professionals in this sector have been provided with exploratory tools for documenting, analyzing, intervening, and preserving objects and works of art that make up our history. This research focuses on finding the most suitable material along with the ideal printing position that could provide molds for the production of anatomical wax facsimiles that guarantee maximum quality and fidelity when compared to its original. These replicas and fragments allow conservator-restorers to volumetrically reintegrate while testing different options before applying direct treatment to the works. The results obtained from testing on different types of printing materials as well as the positives achieved from them are presented.

The publication of Andreas Okopenko’s diaries from 1949 to 1954 is a digital edition that includes carefully transcribed diary entries with thoughtful and transparent, although not always easily accessible, editing guidelines. The presentation of the digital edition offers engagement with the contents in different ways, whether reading the diaries in chronological order or exploring them through linked data and indexes, but a full-text search is missing. The research data collected is enriched with metadata and available for subsequent use in a repository in the form of TEI-XML files and with an open license. Although API exists, the generated research data is not yet fully integrated in the overarching infrastructure for digital editions at the Austrian National Library (ÖNB). The project took a hybrid approach and published a printed edition subsequently, which, curiously, covers a longer period than the digital edition. The website, however, lacks information on whether there will be published more diaries in the future.

The present study aims to outline a conceptual framework with a view to the scholarly digital publishing of Eminescu's literary works. In the first part, we analyze the arguments formulated by Petru Cre?ia in Testamentul unui eminescolog and introduce three methodological principles that could serve for a new division of the material, the integration of technical solutions and the design of interface functions. In the second part, we present the arguments for dividing the early texts into two categories, corresponding to the two major sequences of Eminescu's biography: a first phase, between 1866 and 1883, encompassing full creativity, and a second phase, covering the period 1883-1889, from the onset of his illness until his death. Then, we highlight the symbolic importance of the last poem published before his breakdown. Indeed, Doina is an emblematic text for Eminescu's creativity, but it has generally been occulted by the exegesis for ideological reasons. The third part of this article is devoted to a case study: aligning the verses of Doina in TEI xml, highlighting the technical problems resulting from the collation of several sources (Perpessicius edition, facsimile) and illustrating the problems of transcription. [ABSTRACT FROM AUTHOR]

Walter Benjamin Digital is a digital partial edition of the eleventh volume of the Critical Complete Edition of Walter Benjamin’s works, published by Suhrkamp since 2008. It contains handwritten texts from the field of work of Berliner Kindheit um neunzehnhundert and its predecessor Berliner Chronik in the form of facsimilated manuscripts and superimposed diplomatic transcriptions. Walter Benjamin Digital is not geared toward exhausting the possibilities of a digital edition; hence the printed volumes must remain key for research purposes.

The text offers enlightening reflections on issues concerning reproductions of works of art, the status of an original and a copy, the problem of conservation, and the role of digital photography. Latour and Lowe raise the contentious issue of how good and bad reproductions can affect the original, participate in what they call “the migration of the aura”. This is primarily a case study of a production, presentation, reception and the meaning of a facsimile of a Veronese work, Nozze di Cana at its original location, San Giorgio in Venice. The second part of the text (the appendix) is a meticulous, technical description of the stages of production of the picture by Lowe.

The text traces the discovery and the history of two important banquet scenes from the Roman catacombs (from the Catacombs of Callixtus and from the Catacombs of Priscilla). It focuses on the interpretations given to the scene from the 19th century onwards and on its fortune in Europe: reproductions of the scenes found in various churches and chapels up to the middle of the 20th century are here presented. This overview will be useful to understand how the study and reproduction of a single iconography can contribute to a general reconstruction of the development of the discipline of early Christian art history.

At first glance, it appears as though Sir Joshua Reynolds's The Ladies Waldegrave (1780) is in two places at once: Strawberry Hill House and the National Gallery, Edinburgh. Despite their visual indistinguishability, however, the former is a copy of the latter created by Factum Foundation in 2018. In this article, I discuss the ontological relation between paintings and their visually indistinguishable facsimiles, along with certain consequences that relation has for display practices. Traditionally, paintings are understood to be ontologically singular; no copy, however faithful, can ever stand in as the work itself. Using The Ladies Waldegrave, I defend ontological singularity while maintaining that these visually indistinguishable facsimiles can be used to promote engagement with, and a better understanding of, originals. Drawing on the philosophical idea that objects have temporal parts, I suggest that what I call suitable facsimiles – copies that are visually indistinguishable from originals – are representations of particular temporal parts of those originals. My proposal allows paintings to maintain their singularity while acknowledging that some copies share a special relationship with the originals such that the former can stand in for the latter. I conclude by considering issues concerning the display of both originals and suitable facsimiles. [ABSTRACT FROM AUTHOR]

The text offers enlightening reflections on issues concerning reproductions of works of art, the status of an original and a copy, the problem of conservation, and the role of digital photography. Latour and Lowe raise the contentious issue of how good and bad reproductions can affect the original, participate in what they call "the migration of the aura". This is primarily a case study of a production, presentation, reception and the meaning of a facsimile of a Veronese work, Nozze di Cana at its original location, San Giorgio in Venice. The second part of the text (the appendix) is a meticulous, technical description of the stages of production of the picture by Lowe. [ABSTRACT FROM AUTHOR]

This article introduces a remarkable monument of the Russian literature — an illustrated manuscript collection of encyclopedic content, compiled at the beginning of the 17th century. It includes the only known list of The Chronicle of Heavenly Signs so far. An unknown author collected from various historical texts, chronicles and annals, descriptions of solar and lunar eclipses, meteorite falls and movements of comets, phenomena of halo and auroras. Along with the text, the manuscript contains drawings of astronomical and atmospheric events.

William Morris's Kelmscott Chaucer was an attempt to reproduce an "authentic" medieval artifact, albeit as a printed book rather than as a handwritten manuscript. The Kelmscott invites us to theorize about the medieval book; the medievalized book; the reproduction or facsimile of the medieval book; and the reproduction or facsimile of the medievalized book. The Kelmscott also urges us to consider practice; that is, the labor that went into all of the iterations of the Kelmscott, whether a copy was made on Morris's press or later mass-produced as a facsimile. Moreover, Morris's book can be approached as what I call a recalcitrant object. Its recalcitrance is mainly lodged in its aesthetic qualities — the extremes of ornamentation that are not additive, but inherent. One way to think about Morris's project is as a metonymy for the non-cooperation, as it were, of the European Middle Ages itself. The apparent withdrawal of the Middle Ages from our understanding opens up a space for endless efforts to reproduce things medieval — cathedrals, feasts, gardens, music, poetry. As such, the Kelmscott interrogates the divide that we endeavor to maintain between the premodern and the modern: as a printed book masquerading as a medieval manuscript, it embraces both periods. [ABSTRACT FROM AUTHOR]

This article presents a multistage singular spectrum analysis (SSA) method to denoise a signal efficiently and adaptively. The multistage SSA is to apply the basic SSA recursively toward the noisy signal. Therefore, the noise-dominated components will be extracted out from the noisy signal stage by stage. However, the denoised signal is still noisy if the number of stages is small. On the other hand, after all the noise-dominated components have been extracted out by enough number of stages, some signal-dominated components begin to be moved into the noise group as the multistage SSA-based denoising proceeds. An adaptive criterion based on the correlation measure is proposed to terminate the multistage SSA-based denoising algorithm to prevent moving the signal-dominated components into the noise group. The multistage SSA-based denoising algorithm is efficient since the window length is selected as a small positive integer in every stage. Also, the adaptive stop criterion makes the proposed method avoid inappropriate parameter selection effectively. Computer numerical simulation results show that the proposed method has better denoising performance toward different test signals under different noise levels and needs less processing time when compared with the conventional SSA denoising method. [ABSTRACT FROM AUTHOR]

Copyright of Bosniaca is the property of National & University Library of Bosnia & Herzegovina and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The textual evidence from ancient Judah is mainly limited to ostraca, ink‐on‐clay inscriptions. Their facsimiles (binary depictions) are indispensable for further analysis. Previous attempts at mechanizing the creation of facsimiles have been problematic. Here, we present a proof of concept of objective binary image acquisition, via Raman mapping. Our method is based on a new peak detection transform, handling the challenging fluorescence of the clay, and circumventing preparatory ink composition analysis. A sequence of binary mappings (signifying the peaks) is created for each wavelength; their legibility reflects the prominence of Raman lines. Applied to a biblical‐period ostracon, the method exhibits high statistical significance. [ABSTRACT FROM AUTHOR]

Due to the strong gyroscopic effects, the stable control for the nutation vibration of high-speed rotors is an important concern in magnetically suspended control moment gyros (MSCMGs). This paper addresses the two key challenges on the nutation mode control of AMB-rotor systems: using the complex coefficient representation method to obtain the accuracy nutation frequency, and proposing an adaptive tracking approach to ensure stable operations over the entire speed ranges. In order to improve the phase margin of the nutation mode, this paper proposes a nutation mode tracking compensation method based on the cross-feedback-control scheme. First, the analytical calculation for the nutation frequency of the high-speed rotor under the closed-loop condition is carried out. Then, the compensation control method using an adaptive tracking filter in the nutation control path is proposed to provide an adequate damping for the nutation mode. Simulation results show that the nutation mode tracking compensation provides a greater phase lead for the nutation mode compared to the conventional nutation mode filtering approach. Finally, the experimental results on a developed double-gimbal MSCMG prototype validate the effectiveness of the proposed method. [ABSTRACT FROM PUBLISHER]

This paper introduces a novel framework for combining the strengths of machine-based and human-based emotion classification. Peoples’ ability to tell similar emotions apart is known as emotional granularity, which can be high or low, and is measurable. This paper proposes granularity-adapted classification that can be used as a front-end to drive a recommender, based on emotions from speech. In this context, incorrectly predicted peoples’ emotions could lead to poor recommendations, reducing user satisfaction. Instead of identifying a single emotion class, an adapted class is proposed, and is an aggregate of underlying emotion classes chosen based on granularity. In the recommendation context, the adapted class maps to a larger region in valence-arousal space, from which a list of potentially more similar content items is drawn, and recommended to the user. To determine the effectiveness of adapted classes, we measured the emotional granularity of subjects, and for each subject, used their pairwise similarity judgments of emotion to compare the effectiveness of adapted classes versus single emotion classes taken from a baseline system. A customized Euclidean-based similarity metric is used to measure the relative proximity of emotion classes. Results show that granularity-adapted classification can improve the potential similarity by up to 9.6 percent. [ABSTRACT FROM PUBLISHER]

This review addresses the redesign of the William Blake Archive (WBA), which launched 12 December 2016, updating our previous review of the Archive, published in early 2017. Through this update, described as ‘a complete and transformative redesign,’ all of the content of the previous site has been retained, with improvements to the overall aesthetic appeal and functionality. These functionality updates principally consist of a modernized navigation system; a redesigned Object View page that organizes WBA’s scholarly tools within a matrix of panels; and a more comprehensive archival search engine. These new features provide users with enhanced opportunities for interacting with the objects contained in the archive. The notable shortcoming of this update is that the many of WBA’s formerly comprehensive help documentation and tutorial features have not been updated. Both new and veteran users would benefit from the reintroduction of clear, organized documentation to explain the Archive’s new features.

Litteraturbanken (The Swedish Literature Bank) is a freely available digital collection of Swedish literary works, ranging from medieval to contemporary literature. It is the result of a cooperation between literary and linguistic scholars, research libraries, and editorial societies and academies. The collection consists not only of digital facsimiles, but of ocr'ed, proof-checked and TEI-encoded transcriptions as well, including EPUB and HTML versions of texts, and in addition scholarly presentations and didactic introductions to works and authors in the collection. It is also being used as a publishing platform for ongoing Swedish scholarly editing projects. Litteraturbanken currently comprises more than 2.000 works, mounting up to more than 100 million of machine-readable words. Litteraturbanken's main weak spot is transparency; it does not openly provide satisfactory ways to ensure the editors accountability for the edited texts and images. As a whole, however, Litteraturbanken is an impressive endeavour and paves the way for fruitful cooperation and massive data exchange with e.g. computational linguistics and bibliographic databases.

The genre of the scholarly edition is diverse in its forms, but it generally involves a reproduction of original source material in the context of a scholarly apparatus consisting of annotations which add scholarly value to the text by explaining the editorial decisions made in a particular passage, drawing attention to an interesting place in the text, or linking sections of the facsimile with secondary scholarship. This scholarly apparatus acts as a contextualization of the primary material with which it is concerned. Instead of being embedded within the original material, these additions are placed in margins, footers, and appendices separate from but engaged with the material. In every case of a footnote, marginal note, or other part of a scholarly apparatus, we can say that something provided by the editor is a “body” associated with something else that acts as the “target” of the commentary. This association of “body” and “target” is the essence of Open Annotation, an emerging standard on the World Wide Web for associating Web content in this manner. This sense of annotation—of associating one piece of content with another for some express purpose—is the foundation of the Shared Canvas data model, which we present in this chapter as one approach to representing digital facsimile editions in an open, shareable form. Le genre de l’édition critique est divers dans toutes ses formes, mais il représente généralement une reproduction des documents de source originale dans le contexte d’un appareil académique consistant en annotations qui ajoutent une valeur académique au texte, en expliquant les décisions éditoriales prises dans un passage en particulier, attirant l’attention vers un endroit intéressant dans le texte, ou reliant des sections de la reproduction avec un document académique secondaire. Cet appareil académique sert à contextualiser le document primaire auquel il est lié. Au lieu d’être intégrés dans le document original, ces ajouts sont placés dans des marges, des bas de page et des annexes séparées, mais impliquées dans le document. Dans chaque cas, qu’il s’agisse d’un bas de page, d’une note en marge, ou d’une autre partie d’un appareil académique, nous pouvons dire qu’une chose fournie par l’éditeur est un « corps » associé à une autre chose qui agit comme « cible » du commentaire. Cette association de « corps » et de « cible » est l’essence même de l’Annotation ouverte, une norme émergente dans le World Wide Web pour associer ainsi du contenu Web. Ce sens d’annotation — soit associer un élément de contenu à un autre dans un but précis — est la base même du modèle de données Shared Canvas, que nous présentons dans ce chapitre comme une méthode visant à représenter les éditions de reproductions numériques, dans une forme ouverte, partageable.

Jane Austen’s Fiction Manuscripts Digital Edition (JAFM), edited by Kathryn Sutherland, provides high-resolution pages images and diplomatic transcriptions for all of Austen’s surviving fiction manuscripts (totalling approximately 1100 manuscript pages), all unpublished in her lifetime. It assesses the site’s editorial principles, functionality, and contribution to Austen studies, digital scholarship, and textual editing. As a site that offers diplomatic transcriptions not reading texts — what Elena Pierrazo (the Technical Research Associate) has termed ‘Digital Documentary Editions ’— JAFM offers an excellent opportunity to investigate the ways in which the print paradigm for textual editing is being reimagined and reshaped for digital editions.